Klarinet Archive - Posting 000609.txt from 1998/01

From: "Dan Leeson: LEESON@-----.edu>
Subj: RE: RE Vibrato
Date: Tue, 13 Jan 1998 09:13:50 -0500

> From: MX%"klarinet@-----.32
> Subj: RE Vibrato

> Several things occured to me about the use of vibrato.
>
> In the classical context vibrato is an inappropriate expressive device
> simply because we can say with some certainty that it was unknown on the
> classical clarinet. It is impossibl to vibrato on a classical clarinet with
> a classical mouthpiece(Grenser or Simiot) and so there seems little
> justification for it.

Michael, please help me understand why it is impossible to produce
vibrato on a clarinet of the classic period; i.e., what associated
with the classical mouthpiece prevents it from being executed?

>
> For Romantic style it is another matter altogether. Vibrato here can be used
> effectively in espressivo but by the same token so can non vibrato.Take for
> instance the first movement of Brahms 4 . Towards the end of the movement
> here is a short pause before the winds play a transformation of the main
> theme- on the clarinet the notes are c,A,F# and Eb-know the bit? Here the
> use of non vibrato by all the winds is more expressive than with.
>
This is an opinion. It may be true. It may not be true. One could
argue that the use of vibrato by all the winds is more expressive
than without. As a result one gets nowhere in making any broad
conclusions by deciding on the basis of taste, though I certainly
have no objections to a performer being driven by his/her own taste.

Here, however, I was hoping that we were trying to find and isolate
broad general principles.

> I guess my attitude to vibrato is that it should be used as a device and
> should not form a part of someone's sound otherwise it becomes the norm and
> therefore inexpressive. Some people would argue that singers would not dream
> of singing without vibrato and that it does form the basis of a core sound
> to which you either add more vibrato or less. Arguable but not to my taste.

Well, there is certainly merit in the argument that if you do anything
too much it loses its expressive ability. But once again it is a matter
of taste not an issue of evidence.

>
> A particularly good example use of vibrato in my opinion is De Peyer's
> recording of the Schmitt Andantino with Cyril Preedy where there is a
> seamless change of colour by the use of vibrato and which is a natural
> response to the needs of the music.
>
> I also have a particular problem at the moment with regard to use of
> vibrato.I am recording the Ebony Concerto on Sunday with Robert Craft and am
> still unsure whether to use vibrato or not.Or if I do use vibrato ,what kind
> should it be?
>
> My apprehensions are based on the fact that this piece falls in an
> uncomfortable territory between jazz and neoclassic style.If I use too much
> vibrato will I be sending the piece up and not allowing the piece to express
> it's parody of jazz? If I don't use any I'm afraid that it will be too
> square. Here the question of vibrato is not a clear one.Any suggestions will
> be gratefully received.
> Michael Whight
>
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Dan Leeson, Los Altos, California
Rosanne Leeson, Los Altos, California
leeson@-----.edu
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